TRACKER

In her solo show *TRACKER, Fiona Valentine Thomann evokes ideas of how communal and private spaces are occupied or inhabited by entities that are not easily perceivable but that nonetheless claim an existence; for example the data ghost.

Influenced by the Internet of Things and Object Oriented Ontology, she plays with various dimensions of sound and visuals in her art.

Her show TRACKER allows for such different dimensions to be experienced through the usage of Augmented Reality 3D models. The shapes of these models are freely drawn in digital space; they are shaped like an idea, a gesture, a choreography.

By placing the body inside of the screen she examines different relations of art to space and time, allowing for her work to be mobile and transportable, always with you in your pocket.

This makes the public a central component in her work, they can surf inside her 3D models and make their own trajectory through the 3D Model much like video games that are navigated by the gamer. The variety of details that are thereby revealed make the experience of the 3D model different for everyone. She enables the audience to explore different angles and discover different links in the work through a plethora of sound and text that shape these digital environments.

Her work allows you to experience both mentally and physically the 3D models that are made accessible via trackers. The trackers she uses are created through a photographic interplay of screen-captures that serve as textures inside her 3D model. Such a cinematographic approach highlights the different details and the textures she uses which function as thought references in her process. They are a patchwork of different challenges human kind faces in the world today. In her models you can find anything from the wheel of human skin color made by Neil Arbisson, the first cyborg that only sees black and white and listen to color, to the Canadian company Vitalic’s pure oxygen bottles ready to be send from China for 20 dollars the bottle.

Her work essentially questions what is visible and the invisible to us, it underlines the simultaneous accessibility and the inaccessibility of an artwork.